Kaikki aineistot
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Nordiska barnfilmer åtnjuter ett gott rykte både ute i världen och i Norden. I konsumenternas ögon står de för både hög kvalitet och tryggt innehåll för barn. De långfilmer som produceras för en barnpublik går ofta väldigt bra på biograferna och får gott om uppmärksamhet i medierna. Det för med sig en efterfrågan för barnfilm, inte bara hos konsumenterna utan också hos dem som finansierar filmernas förverkligande dvs. de nationella filminstituten- och stiftelserna samt distributörerna och tv-kanalerna. Syftet med mitt examensarbete är att granska om det statliga öronmärkta stödet för barnfilm fungerar som en morot för producenter att producera film för barn. För att få ett svar på mina frågeställningar använde jag mig av kvalitativa intervjuer med fem personer med expertis inom detta i filmbranschen. Dessa personer hade olika infallsvinkel till ämnet, jag intervjuade å ena sidan dem som beviljar de statliga stöden å andra sidan filmproducenter som ansöker om stödet och producerar film för barn. Alla som jag intervjuade var ense om att det är viktigt att det finns öronmärkta statliga pengar för barnfilm. Likaså var alla ense om att de öronmärkta stöden sänder en signal till branschen om den politiska villigheten att stöda kultur för barn. Det fanns dock skillnader i åsikterna huruvida det statliga stödets storlek är tillräckligt överlag och också om dess andel är tillräcklig i en enskild films finansiering.Nordic children’s films have a good reputation both internationally as well in the Nordic countries. In the consumers mind they stand for both high quality and safe content for children. The feature films for children that are produced often run well in the cinemas and get attentions in the media. This leads to a demand of children’s films, not only among consumers but also among those who finance films i.e. the national film funds and institutes but also among the distributors and the TV-channels. The purpose of my thesis is to study if the earmarked state funding for children’s films works as an incentive for producers to produce films for children. To research the question of my thesis I have done qualitative interviews with five persons that possess expertise in this specific field of film. These persons have different standpoint into the subject, I interviewed both persons who grant the financing funds for the films as well as producers who apply for the funds and produce the children’s films. Everyone I interviewed agreed that it is important that we have earmarked state funding for children’s films. Likewise everybody agreed that the earmarked funding does send a signal of the overall political willingness to support children’s culture. There where differences in the opinion to the question about the state funding being sufficient enough and if it covers a big enough share of he financing of a children’s film.
Syftet med mitt examensarbete är att analysera boken ”Animated Storytelling” skriven av Liz Blazer och att ta reda på om hennes vägledande passar nybörjaranimerare eller inte. Jag och min klasskompis Julia Glasberg har baserat hela vår animerade film, som vi gjort för organisationen Project Liv, på Blazers råd. Jag ger personliga åsikter och reflektioner kring Blazers bok samt berättar om vad andra experter i branschen säger jämfört med henne. Detta arbete är således både en jämförelseanalys samt en fallstudie. Efter mitt inledande kapitel där jag presenterar mitt arbete har jag kort samlat lite histo-ria kring storytelling och animationer, samt Project Liv som organisation. Efter detta kommer min huvudsakliga analys där jag kapitel för kapitel refererar Blazers bok, ger egna reflektioner kring Blazers råd baserade på vår animerade film och slutligen jämför Blazers ord med andra experters. Avslutningsvis berättar jag vad jag kommit fram till och hur väl Blazers bok passar nybörjaranimerare. Min och Julias film för Project Liv kan man se på Project Livs Youtube-kanal: https://www.youtube.com/watch?v=8_SKihBfaf8The purpose of my thesis is to analyze the book ”Animated Storytelling” written by Liz Blazer, and to find out if her guidance suits a beginner animator or not. Me and my classmate Julia Glasberg have based our whole animated video, which we made for the organisation Project Liv, on Blazer’s pieces of advice. I give my personal opinions and reflections on Blazer’s book as well as write about what other experts in the field say compared to her. This is therefore both a comparative analysis as well as a case study. After my introductory chapter in which I present my work, I’ve gathered some history concerning storytelling, animation and the organisation Project Liv. This is followed by my main analysis in which I chapter by chapter cover Blazer’s book, give my own re-flections on Blazer’s advice based on our animated film and finally I compare Blazer’s words to those of other experts. In the end I talk about my results and how well Blazer’s book suits a beginner animator. The video me and Julia made for Project Liv can be found att the Youtube-channel of Project Liv: https://www.youtube.com/watch?v=8_SKihBfaf8
This thesis sets out to examine video game adaptations, specifically the strategies used when adapting a film into the video game medium. The video games looked at are the PlayStation 2 games Shrek 2, Madagascar, and Over the Hedge, and the Nintendo DS games Happy Feet, Alvin and the Chipmunks and How to Train Your Dragons. These video games were released in the 2000s, during the height of video game adaptations, but nowadays almost no video game adaptations are released. This paper aims to investigate the reason for this decline both from a historic point of view and through the analyses of the six video games mentioned. The theoretical framework includes adaptation theories, video game theories, and lastly video game adaptation theories. Following that is a brief discussion on the history of video game adaptation and possible reasons for the downfall. The method for analysing the video games was to first watch the film and then play the video game. The analysis begins with a short introduction to the consoles used, followed by a comparison of the video game to the film, a description of the experience of playing the game, and the views of both critics and other players. Lastly is a discussion of the findings, along with suggestions for further research. This study finds that the main strategy used is direct adaptation with minor additions, followed by making the adaptation into a sequel to the film. Most adaptations translated the events of the film into environments in the video game. The ratings of the critics as well as the number of critics reviewing the games lowered with each adaptation, showing a lower interest in the video game adaptations. Other reasons for the downfall of video game adaptations include the poor quality of the mass produced games, an emergence of mobile gaming, and an increase in cost to develop video games in general.